While certainly entertaining, it was not without its flaws. Whether it was the direction, or the script itself, there were moments that dragged on or felt redundant and on the nose, overtly foreshadowing future plot points. It is a common flaw in every form of media not to trust the audience to deduce things without being told them outright. In doing so, the characters reached conclusions long after the viewer did, creating an agonizing sort of dramatic irony which made the play grow exhausting.
There were oddities in the plotline, too. The maid, for one, seemed of little import than to exist as comedic relief for a show that didn’t need it. Edith (Sophie Kelly-Hedrick) spent the entirety of the play bumbling about and mumbling or screeching her lines. She was given so little depth, yet she ended up playing a key role in the plot, which felt utterly unwarranted. Despite the character’s lack of purpose, Sophie Kelly-Hendrick’s performance was incredibly well done. She gave the character her all and fully embodied the chaotic hilarity, drawing laughter with every frantic action and panicked line.
Seances grew repetitive, and the ending made little sense, disregarding everything the climax had worked to achieve, but plot aside, the Rep put on one hell of a show. The actors did well with the characters they’d taken on. Kristen Potter brought out the mischievous regality Elvira’s character demanded, Gin Hammond gave Ruth a classy and strong-witted charm, and Arlando Smith exuded Charles’ arrogant indifference.
The star of the show, however, was Anne Allgood. Her performance as Madame Arcati was dynamic and engaging, rising one moment to a fit of passion, then switching rapidly to a state of aloofness and eccentricity. Her movements and blocking were quirky and entertaining.
The actors performed brilliantly with the material they were given, but a review of this show would not be complete without highlighting the designers and technicians who worked to make it truly memorable.
Lighting, designed by Connie Yun, cast a perfect wash over the stage. The pale blue light beyond the window set the scene into a dark and ominous night, and when that ghostly hue consumed the stage upon Elvira’s first appearance, it set the perfect atmosphere. Red light shone from the direction of the fireplace, casting harsh shadows and steeping Madame Arcati in a saturated crimson when situations grew dark and troublesome. But most notable were the lighting effects attached to all the ghostly mischiefs.
Costuming likewise deserves a share of the spotlight. Elvira’s opening attire was ethereal and stunning, and every costume that followed suited her character and the moment well. The costumes all around spoke to the personalities of each character, giving them distinct looks which solidly set the era and character demographic.
The grand finish of the show can be credited to the props team and scenic designer, Carey Wong. The set was extravagant and beautiful; it bore an old world feel that dripped with wealth and regality: pillars in the corners, a collection of old, leather bound books upon arching bookshelves, and various locations and levels for the actors to traverse. Within it all were hidden passageways, a lift which brought actors onto the stage unseen, and ‘floating’ props (which were handled a bit awkwardly, but still fun).
The set had its moment to shine at the end of the play, the script calling for mass destruction. The shelves and piano shook and crumbled, chandeliers swayed and fell, and a large set piece was flown in, shocking the audience with the wonderment of the unexpected. The spectacle was largely unnecessary to the story itself, but was one of the key elements to ensuring the show stuck with audiences as they walked out the door.
Blithe Spirit may not be the show for those who are looking for a play with deep or complex narrative themes, but it certainly offers delightful humor and is a jolly addition to the holiday season.
